FringeNYC 2013: A Future Imperfect

The law cannot protect you--if indeed you are even you! As an oppressive government regulates human contact, humanity's future deteriorates into turbulent uncertainty. This suite of four satirical and foreboding accounts asks, Can humanity save itself from itself?

Official production website
Show details/ticketing at FringeNYC

Venue: The Celebration of Whimsy a.k.a. The C.O.W., 21 Clinton St.

Review by Pamela Butler · August 13, 2013

Given the temper of the times; the culture wars, the gender wars and all the dire warning about the possible demise of our fragile and finite planet, it’s refreshing to know there are writers like William Coleman who can imagine a few perfectly possible scenarios, looking a dozen years into the future, to such an absurd degree that they are unnerving and tragically hilarious.

Mr. Coleman, a man of many talents, gives us A Future Imperfect, an outrageous, absurd, touching and hysterically funny play. How we suffer and endure under the thumb of “the law” when the law is bent by well meaning reformers or most likely, fanatics, is part of what happens here. And then there is Nature and her vengeance. Life is tough all around. How can we possibly survive? You’ll have to see the play.

The cast creates a wonderful ensemble energy, each player expressing a rich and well defined personality. The characters of Jerome Bentley (Dave Coleman), Paul Everett Smith (Justin Colon) and Steve Prescott (Eric Whitten) are good, honest men; gentle, loving and sincere, doing the best they can to live as law abiding citizens. Julia Kelly as Judy Carpenter has a natural and endearing flare for the comic and Kristen Shields playing Mary Louise Warren suffers with hyper emotion. Beautiful Catherine Cobb Ryan is commanding and self assured as the authoritarian Jill Jameson. Finally, Tym Moss effectively throws his weight around as a tough cop and imperious judge.

I don’t want to give too much away but to give you an idea of what’s going on, imagine a time when men can only speak to women in the form of a question or they are arrested and given prison sentences. Imagine going for a marriage license and being told you are so genetically perfect, that you must in fact have a hundred children but not by your genetically imperfect intended. Years later, under new “identity” laws, a loving and happy marriage is terminated when the husband, with all the usual papers and ID cards still cannot prove his identity, but his wife can, on a technical detail. So much for that marriage. This is both comic and serious stuff.

Allison Moody deserves a lot of credit for the production’s overall cohesiveness. Her staging is fluid, the timing is brisk. She keeps the action sharp and the humor quick and fresh. The actors’ lively performances show all the signs of a smart guiding hand.

Other credits go to the composer and sound designer, Fredy Soberanis, for the complementary score; Robert Sambrato sets effective lighting; Sam O’Brian keeps the costumes appropriate for the characters and the scenes. This is just the sort of social and political commentary I love to see at FringeNYC. Highly recommended.

Preview: Interviews with Artists from A Future Imperfect

We're asking artists from each show to answer questions about themselves and their work to help our readers get a detailed advance picture of the festival:

The Five W's · Sam O'Brien (Designer)

Who is more important in the theater: the actor, the playwright, or the director?
Well, I feel like this is a trick question...While the playwright is responsible for creating the people, the world, and the time in which the play exists, it is the director's duty to translate that vision into reality by utilizing the designers who create the world and filling it with the actors who ultimately carry through the playwright's initial vision. What is most important is to take advantage of each person's abilities and create a collective, beautiful piece of art.
What aspects of design are you responsible for, and what exactly does that entail? Please be specific, e.g., if you’re the sound designer, what are the things that the audience will experience that you’re responsible for?
I am the costume designer of 'A Future Imperfect,' which entails the design and construction of all costumes. Like many other Fringe productions, we have no set design and minimal props, but what is unique about our production is we are using costume to our full advantage in order to enhance the story and characters within that story. With attention to every detail, we are creating a crescendo of sorts with silhouette, color palette, and fabrication.
Where do you get inspiration for your designs?
My inspiration for the designs stems directly from the script; its dialogue and story provides a perfect reference to develop its visual accompaniment. Allison, Justin and myself pick apart the details of the writing to create this world (that's not too different from our own) through the merriment of silhouette and color palette. We want the costuming to help provoke thought. Every detail in the costuming will be present to further enhance the themes of oppression, sexuality, freedom, and identity.
When did you know you wanted to work in the theater, and why?
This production is my first venture into costume design for the theater. I am primarily a women's evening and sportswear designer, however; after dipping my hands into theater costuming while interning at the costume shop of the Metropolitan Opera, was introduced to another facet in which I could exercise my skill. Costume design is a little different than what I am used to, though; I appreciate how it allows me more freedom and more restraint than designing a collection for a customer. While it is important for me to develop an overall aesthetic for the show, I have a fair amount of artistic freedom because each character has his/her own style and I can stretch my designs to give each character an individual style/identity. The challenge of making sure my designs are in sync with the script makes my job as the costume designer for "A Future Imperfect" even more enjoyable.
Why is your design discipline important?
Specifically for our play, the costume design is the only real visual element that accompanies the actors. With no set design, the costumes are what will illustrate this dystopian future. What is important about our production is that the audience is able to relate to this society, which could be a very real possibility. While this show is satirical, there are very real themes discussed and presented through the dialogue. This is where I believe my background in the fashion industry is an asset. I know how people dress today, and I know how societal, governmental and environmental issues influence trends and the way a style develops. My goal is to take what is familiar to our society today and inch it into the future as each scene passes, keeping it believable and relatable. The audience will see how large an influence the government is on the evolution of fashion.

Read more The Five W's previews!

All About My Show · Justin Colon (Actor)

Complete this sentence: My show is the only one in FringeNYC that...?
has a creative team that spans over 9,000 miles, ranging from Mexico to India (with most of us residing in the United States).
Tell us about the character or characters that you portray in this show.
I play Paul Smith, who is perhaps the most upright citizen in "A Future Imperfect." He's intelligent, responsible, and very lovable. But he is engulfed in fear, which leads to paralysis by complaisance. In many ways, he is US. Your heart will break for him and you'll want to jump to his defense. All of the characters in this play are so dimensional; they have such compelling characteristics, motivations, objectives, and tactics.
What moment or section in this show do you really love to perform? Without giving away surprises, what happens in that moment and why do you love it?
I especially love to perform the conclusion of the third act, "Smith," which has this beautifully crafted crescendo that is both comical and haunting. In the act, Paul Smith must prove his very existence. I genuinely enjoy working with the people in this scene and overall show, and they play such awesome characters. The scene, like the rest of the play, is intelligent, entertaining, and thought-provoking. By the end of the scene, the tension in the air is overwhelmingly palpable. I can't reveal anything more... you'll just have to see the show for yourself to find out, "Can humanity save itself from itself?"
Which school or system of acting has been most useful to you in your career, and why (examples: The Method, Uta Hagen, Viewpoints, etc.)?
I trained at the William Esper Studio under the tutelage of David Newer. So, I'm a Meisner guy, however; I do incorporate "the method" into my work. My training gave me a technique to which I could apply my talent because talent without technique is not enough. With technique came much of the confidence and faith needed to remain at it in this industry. Keep training, keep dreaming, and keep at it!
What's your favorite pastime when you’re not working on a play?
When I'm not working tirelessly to achieve my goals, I'm very much a homebody. I love being with my family and doing anything family-related i.e. going to the zoo, going to the movies, playing monopoly, etc... I'm still a kid at heart, which is one reason I love acting so much. Right now, I am getting ready to put on my producer hat for a few hours and then I'll be enjoying some streaming Netflix movies.

Read more All About My Show previews!

Theater is Political · William S. E. Coleman (Writer)

Is this play political? Why or why not?
All human relationships are political, and theatre is at its best when it deals with human relationships. “A Future Imperfect” contains four visions of a future society in which current malignant and dehumanizing trends grow and spread. Legislated behavior, forced eugenics in a theocracy, bureaucratic buffoonery, and sheer terror present seven human beings with seemingly insurmountable challenges. The evening ricochets from satire to drama and from comedy to tragedy as the characters in my play struggle to survive in a world of social and political upheaval.
Theater is a necessary ingredient in democratic societies. Do you agree or disagree, and why?
A richly varied theatre that is available to the widest possible audience and free from political and economic censorship is an absolute necessity in a democratic society. I believe the New York International Fringe Festival is a model of how we can meet that need. Within its sweeping parameters theatre voices from America are mingled with international perspectives in a richly diverse offering of comedies, dramas, and experimental theatrical events. All of this is available at modest prices. Better still, this festival will inspire playwrights, actors, and theatre artisans to go back to their theatres and excite audiences in new and innovative ways. Excited theatregoers talk about their theatrical experiences and create new audiences. New audiences make theatre more democratic and an essential part of society.
Which political figure would like your show the best: Chris Christie, Hilary Clinton, Rand Paul, or Al Sharpton?
I believe Hilary Clinton and Al Sharpton would enjoy “A Future Imperfect.” Clinton would enjoy its humanistic and feminist statements, and Sharpton would be attracted to its depiction of a malignant society that questions the existence of some of its less fortunate citizens. Rand Paul would probably deny the looming possibilities of “A Future Imperfect” or try to ban people from seeing it. However, of anyone in politics today, I think Al Franken would enjoy it the most.
Who do you think has the right idea about theater: Brecht, Artaud, Shakespeare, or Aristotle?
Having worked as a playwright, director, actor, historian, and theatre arts professor, I find inspiration in all four of these major figures. Aristotle defined the basic narrative structures and asked playwrights to rise to cosmic concerns. Shakespeare said it all in masterpiece after masterpiece. The Bard set the bar too high for us to match his achievements, but he showed us how theatre can reach out and speak to the broadest possible audience. Brecht’s Epic Theatre and its theory of alienation allow audiences to step back from emotionally charged scenes and evaluate how tyrannies limit freedom. Artaud’s Theatre of Cruelty forces us to feel at a primal and subconscious level. Contemporary theatre veers between the Brecht-Artaud polarities; but some theatre artists are able to combine them into one coherent event. “A Future Imperfect” was designed to realize this aesthetic fusion by moving and entertaining audiences, stimulating thought and discussion about our world and the direction it’s heading, and asking the question, "Can humanity save itself from itself?"
Is it more important to you to write about people who have the same political/social views as you, or people who have entirely different ones?
I want to write for the broadest possible audience. That is where intelligent discussion of our political/social views begins.

Gettin' Social · Allison Moody (Director)

What was the last play or theater piece you saw that really excited you, and why?
I loved Cock ... wow, I never thought I would write that sentence while promoting a show. But I was so intrigued by the simplicity of it, how for 90 minutes I was completely enthralled by a story told without set, props, lights or sound. It's such a rarity these days that actors and the audience are encouraged to use only their imagination to create the world of the play. I was thankful for that shared experience.
How did you meet your fellow artists/collaborators on this show?
William Coleman, or Doc as I call him, was my professor in undergrad. He taught me acting, directing, playwrighting and theatre history (he will tell you that he threw me out of class one day for talking too much, but it's simply not true as I was always a model student!). He was my mentor and I'm proud to say that he is also a dear friend. When Justin approached Doc about wanting to produce the play for NYFringe, Doc suggested that I direct the play and the rest is history.
Do you think the audience will talk about your show for 5 minutes, an hour, or way into the wee hours of the night?
Definitely into the wee hours. The play examines how several laws effect our way of life. While they may feel like they're just fiction and artistic license, when you start looking around, you realize how many of the laws in the play are laws that are actually on the books or are being pushed through Congress at this moment. But at the heart of it, the play is about the will of humanity to survive and love and continue on. I think any audience member can identify with that.
How can a director use Facebook, Twitter, blogs, etc. to help mount his/her show?
Well, I have to admit that I do "cyber stalk" those who audition for me. I like to see where they're from, where they've worked and then read reviews and view any videos they have available. It helps me get a sense of their talent of course, but also of who that person is and if I want to be in the room with them for four weeks!
Why should your friends “like” this show?
This play is a story about each and every one of us and how we have the power within us to be a source for good or not-so-good. We all have the ability to make the world a better place. We just have to make the brave choice to do so.

Read more Gettin' Social previews!

Journey to FringeNYC · Charlie Moore (Other)

What are some of your previous theater credits? (Be specific! Name shows, etc.)
Next Fall, Spring Awakening, Mother F**ker With A Hat, and Wolves. Atlanta Lyric Theatre's Hairspray, Music Man, RENT, 42nd Street, and Atlanta's amazing Actor's Express' production of Equus.
If this is your first appearance in FringeNYC -- why did you want to be part of this festival? If you have appeared in FringeNYC before, tell us what show(s) you have done here previously. What about your prior experience led you back to this festival?
This is my first appearance in FringeNYC. I love to work on new pieces that are in the early process of their development; it allows you see the piece from the very start as well as have a hand in the original piece. I believe wholeheartedly that "A Future Imperfect" is a great piece of theatre with a wonderfully diverse team of people attached to it.
Have you seen a lot of fringe shows in the past, and what have you learned from them to help with this show?
Having just moved from Georgia to New York, I have yet to see any FringeNYC shows, however; I have seen some Atlanta Fringe Festival shows and have always enjoyed them. I've appreciated the work that goes into those amazing pieces and have always known that this what I wanted to be a part of someday.
What was the most memorable/funny/unusual thing that has happened during the development and rehearsal process for this show?
Thus far, the most memorable moment that has happened during the creative process for "A Future Imperfect" was hearing the play read out loud during the first read and thinking that that is what we wanted the play to sound like. We finally heard out loud what we had been hearing in our head and hoping to hear out loud.
Which cartoon character would most like this show – Bugs Bunny, Marge Simpson, Charlie Brown, or Casper the Friendly Ghost?
Lucy from the Peanuts. I find her to very much be the girl who likes control and rules, and as a show that deals with oppression, government regulation, and totalitarianism amongst other themes, you certainly find a lot of that in this show.

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